Miles Teller and Anya Taylor-Joy play elite snipers assigned to a mysterious mission by their respective countries in the upcoming film “The Gorge”. Director Scott Derrickson (“Doctor Strange”, “The Black Phone”) teams with screenwriter Zach Dean in an Apple TV+ exclusive that melds together science-fiction, action, and horror to deliver a film with no shortage of surprises.

One of the biggest strengths of “The Gorge” lies in the fact that we never know where it’s going. There are several instances where we may think we do, but Derrickson and Dean routinely switch gears and take the story in new directions. And while they borrow from an assortment of genres, they mix it all up in ways that help “The Gorge” feel fresh and exciting.

Teller plays Levi, a former Marine sniper who four years earlier was diagnosed with PTSD and deemed unfit for service. Rather than fight it, a frustrated Levi retired and went to work as a military contractor. One evening Levi receives a message summoning him to Camp Pendleton where he meets with the high-ranking Bartholomew (Sigourney Weaver). She needs someone skilled, dependable, with no family attachments for a top-secret solo mission. Seeing it as a way of proving himself, Levi agrees.

The military flies Levi to an undisclosed location in an undisclosed part of the world. His job is nearly as cryptic. He is to spend the next year manning a self-sufficient observation tower perched cliffside next to a giant gorge. He is to be a high-tech maintenance man – keeping the sensors, minigun emplacements, and “cloakers” up and running. He will have radio checks every 30 days, but otherwise there is to be no communication with the outside world. And just as important, contact with a similar tower sitting far away on the other side of the gorge is prohibited. After one year, his replacement will come and Levi can go home.

Upon arriving, Levi is greeted by J.D. (Sope Dirisu), the soldier he’s replacing, who gives him a tour of the tower. It stands high in the air, overlooking the massive gorge which is covered with a dense layer of fog that keeps anyone from seeing what lies below. J.D. then briefs Levi on details left out by the military. Namely that the allied governments have been secretly manning the tower since World War II. And that Levi’s job isn’t to keep people from entering the gorge. It’s to stop what’s in the gorge from coming out.

Meanwhile Drasa (Taylor-Joy), a Lithuanian sniper working for the Russian government, is the new replacement in the East Tower on the other side of the gorge. Levi takes notice but sticks by his ‘no contact’ order… at least for while. After a month of being alone with their thoughts, the two begin communicating with signs and high-powered binoculars. Suddenly an unexpected relationship takes form.

But then there’s the gorge and the secrets it holds. It’s crucial that you go into the film knowing as little as possible. So I’ll just say that the movie’s second half takes several unexpected turns – some are action-packed while others veer ever so slightly into horror. The world-building also shifts with Derrickson, Dean, DP Dan Laustsen, and the talented visual effects team building something strikingly original, wildly creative, and utterly harrowing. Again, I know that’s vague, but it should be.

As for Teller and Taylor-Joy, they know their assignments and have a lot of fun fulfilling them. Admittedly their dialogue can be a little hokey in spots. And their budding relationship is a bit rushed, leading to an abrupt character transformation in Levi that could have used more time. Still they’re both nice fits for their characters which shows most once the action ramps up and Derrickson lets his creative vision run wild. “The Gorge” premieres February 14th on Apple TV+.

VERDICT – 4 STARS

Craig T. Nelson gets a meaty big screen role in “Green and Gold”, an inspirational drama from director Anders Lindwall. Inspired by true events, the film takes an honest and heartfelt look at the plight of family farms in America. It’s told through the story of one Wisconsin family who find themselves on the verge of not only losing everything they’ve worked for, but also losing something central to their very identity.

Though not overtly religious, “Green and Gold” thoughtfully melds together faith, football and farming into a textured and grounded drama that’s firmly rooted in rural life. Nelson plays a grizzled farmer named Buck. Full of grit and pride, Buck inherited his sprawling Wisconsin farmland from his late father. And about the only thing he loves as much as his farm are the Green Bay Packers. Case in point – he even named his cattle after the players from their 1967 championship team

With his beloved wife Margaret (Annabel Armour) and their hardworking granddaughter Jenny (Madison Lawlor), Buck sticks to the old ways of farming which means respecting the land, the animals, and the way of life. But in the changing world, the old ways have led to some substantial debt along with the threat of foreclosure from a local banker named Jerry (Tim Frank).

After some unfriendly jostling, Jerry makes Buck an outrageous deal. If the Packers win the Super Bowl he’ll give Buck an interest-free year to catch up on his payments. If they lose, Buck either pays in full or signs everything over to the bank. At first Buck declines. “We aren’t betting people”, he tells Jenny. But later, as desperation sets in, he takes the wager and puts his farm in the hands of fate.

That’s one part of the story. Another focuses on Jenny, a young woman who was raised on the farm but has dreams of getting away. She knows farming and does everything from work the fields to tend the livestock. But she’s also a talented singer-songwriter who often slips off to Milwaukee to play her music at area bars. When a hunky up and coming singer (Brandon Sklenar) offers her a chance to record her music, she’s faced with a difficult yet potentially life-changing decision.

As the drama plays out at the farm, the Packers overcome a rough start and begin winning, eventually squeezing into the playoffs for the first time in years. I won’t say how everything plays out, but it doesn’t quite follow the formula you might expect. That’s because “Green and Gold” is more interested in the humanity at the core of its story. The script does occasionally veer into the melodramatic and certain side characters desperately need more depth. But it never loses its grip on the human element.

“Green and Gold” captures the heart of its moving true account through assured direction, richly authentic performances, and a terrific sense of place. It can be tender, inspiring, heartbreaking, and even dark on occasions. We’re even blessed with the always wonderful M. Emmet Walsh in his last movie role. It all makes for a welcomed January release that has the chance to surprise a lot of people. “Green and Gold” opens in theaters on January 31st.

VERDICT – 3.5 ATARS

It has been a lengthy journey (24 years to be exact), but Ridley Scott has finally delivered “Gladiator II”, the long-rumored sequel to his 2000 Oscar-winning epic “Gladiator”. I’m a massive fan of the Russell Crowe led original and wasn’t convinced we needed a sequel to such a brilliant all-timer. But Scott has been working on a second film since 2001, parsing through ideas, shaping and reshaping scripts, and getting the right people onboard.

That brings us to “Gladiator II”, Ridley Scott’s return to the Roman Empire although without the rugged star-power of Russell Crowe. But stepping into his sandals is rising star Paul Mescal who pours every ounce of himself into the role of Lucius Verus. Fans of the first film might recognize that name as he was the young grandson of Emperor Marcus Aurelius (originally played by Spencer Treat Clark). Lucius’ story is the centerpiece of this spectacular sequel that delivers everything you want from a big budget blockbuster.

This time around the screenplay is handled by David Scarpa who just recently worked with Scott on “Napoleon”. Scarpa dusts off several story threads from the 2000 film and reuses them with mostly new characters. But this isn’t some lazy rehash of its predecessor. Scott and Scarpa add several new threads of their own, often braiding them with the old to make something fresh. It results in a film that proudly honors the original while creating an identity very much its own.

“Gladiator II” opens with one of the most exhilarating battle sequences Ridley Scott has ever put to screen. In 200 A.D., under the leadership of General Marcus Acacius (Pedro Pascal), the Roman army invades Numidia, the last free city in Africa Nova. Helping defend the city is Lucius who has been living under the alias Hanno. During the brutal and bloody battle, Lucius’ wife Arishat (Yuval Gonen) is killed and he is enslaved.

Lucius is taken to the outskirts of Rome where he and other captives are thrown into an arena to fight feral baboons in front of potential buyers. Lucius impresses Macrinus (Denzel Washington) who buys him to add to his stable of gladiators. Macrinus is a mysterious but clearly ambitious man who sees the rage in Lucius as a means to fulfill his bigger plans. As he does with every film he’s in, the charismatic Washington makes “Gladiator II” better. He has the time of his life playing Macrinus, a shrewd and politically savvy manipulator who has his eyes focused on one thing – unbridled power.

Meanwhile General Acacius returns to Rome where he is greeted by the depraved and corrupt twin emperors, Geta (Joseph Quinn) and Caracalla (Fred Hechinger) who immediately plan games in the Colosseum to celebrate Rome’s victories. But secretly the war-weary Acacius has grown disillusioned with the direction of Rome under the two Emperors. So much so that he and his wife Lucilla (a returning Connie Nielsen) are secretly organizing an insurrection with 5,000 soldiers loyal to Acacius making their way towards Rome.

As the city gathers for the upcoming gladiator games, the Machiavellian Macrinus seizes his opportunity to get closer to the throne. He convinces a reluctant Lucius to fight as his gladiator, promising him an opportunity for vengeance against Acacius if he wins enough fights in the Colosseum. And much like Crowe’s Maximus in the first film, Lucius will need to earn the trust of his fellow gladiators and win the Roman crowd if he is ever to have his chance at revenge.

Scarpa’s script is loaded with political intrigue and family revelations. But its the blood and brawn of the Colosseum that will drawn the most excitement. The action scenes are electric, combining intense choreography with brute spectacle. They’re wild, brutal, and extravagantly staged. Just as impressive are the magnificent costumes and the stunning production design, both of which benefit greatly from the film’s hefty budget. A shaky digital effect or two aside, the film is a dazzling visual achievement.

For some, comparing “Gladiator II” with its superior predecessor will be immediately yet fruitlessly tempting. The sequel may not reach the same heights or have the same impact, but it’s a worthy successor in nearly every regard. Rome lives and breathes through Scott’s bravura filmmaking and Scarpa’s incisive script, both of whom create a colossal Empire on the brink. And while there’s no shortage of juicy melodrama, underneath it simmers strong statements on power and oppression. Throw in a fiery Paul Mescal and a Denzel Washington performance for the ages, and you have the most entertaining big screen blockbuster of the year.

VERDICT – 4.5 STARS

Even in the later stages of his magnificent career, Michael Keaton remains one of our best working actors. Throughout his near 50 years in the industry, Keaton has proven to be a skilled performer who routinely challenges himself. As a result, he owns an incredibly diverse filmography. In just the last few years we’ve seen him play a CIA agent, a crooked amusement park owner, the U.S. Attorney General, and a hitman while also reprising his popular roles as Batman and Beetlejuice.

At 73-years-old, Keaton is showing no signs of stopping and we should all be grateful. His latest film is “Goodrich”, the sophomore big screen effort from writer-director Hallie Meyers-Shyer. “Goodrich” is an endearing family dramedy that’s propelled by another lights-out Michael Keaton performance. It’s a movie that may be a bit cliche in spots but that features plenty of emotional depth which connects us to its central character and his relationships with those closest to him.

Keaton plays Andy Goodrich, an art dealer who has ran his own Los Angeles gallery for 28 years. But times are tough for Andy’s business. He’s struggling to pay his rent and his artists aren’t selling. His close friend and accountant Cy (Kevin Pollak) has informed him that unless something changes he runs the risk of losing his gallery. This is uncharted territory for Andy who has always felt he had everything in his professional and personal life under control.

But the real jolt of reality comes when Andy receives a phone call in the middle of the night. On the other end is his much younger second wife Naomi (Laura Benanti) who surprises him with the news that she has checked herself into rehab. It comes as a complete shock to Andy who has been so enthralled in his gallery that he didn’t even realize his wife was abusing prescription meds. She explains that it’s a 90-day program and he will need to take care of their twins, Billie (Vivien Lyra Blair) and Mose (Jacob Kopera). Naomi ends their conversation with the solemn words “I’m leaving you.”

From there the film follows Andy as he discovers some painful truths about himself, namely how disconnected he has been from his family and their lives. Much of his revelation comes through the rekindling of his relationship with his older daughter from his first marriage, Grace (Mila Kunis). She’s a successful entertainment writer who is happily married and pregnant with her first child. It’s a really good performance from Kunis who shrewdly balances Grace’s love for her father with the resentment she has for the many years he was absent.

Throughout Andy’s journey he gleans more about his family from the other people in their lives. It builds towards a somewhat predictable yet resonating redemption arc made stronger by Keaton’s effortless authenticity. It helps that Meyers-Shyer never turns him into a bad guy. He’s oblivious to his own complicity, yet sympathetic and likable from the get-go. Keaton does the rest, really capturing the heart of his character and delivering an emotional punch, especially to fathers like me. “Goodrich” hits theaters October 18th.

VERDICT – 3.5 STARS

Regardless of whether you were a fan or not, if you were alive in the late 1980s and early 1990s you probably heard of Milli Vanilli. The German duo of Rob Pilatus and Fab Morvan became overnight pop music sensations. They would go on to sell millions of records, release three #1 singles, and win a Grammy Award for Best New Artist. But scandal erupted once it was discovered that Rob and Fab didn’t actually sing their songs. As a result, Milli Vanilli received instant backlash and they would eventually have their Grammy taken away.

Rob and Fab would make several attempts to save their careers but to no avail. In 1998 the duo recorded a return album and were planning a full promotional tour. But tragedy struck, putting an end to any potential comeback. Without question they have a heartbreaking ‘rise-and-fall’ story which has been chronicled in several documentaries. Director Bret Ratner had a Milli Vanilli biopic in the works, but it fell apart after sexual harassment allegations against him became public.

And that leads to “Girl You Know It’s True”, a new biographical drama written, directed, and co-produced by Simon Verhoeven. The film makes an effort to rescue the sullied reputations of Rob Pilatus and Fabrice Morvan. Yet it does so without exonerating them of their roles in the elaborate ruse. Verhoeven sets out to humanize Milli Vanilli by looking beyond their celebrity status. He offers a sympathetic cautionary tale told through an illuminating and stylish lens.

In 1988 Rob Pilatus (Tijan Njie) met Fabrice Morvan (Elan Ben Ali) on the Munich, Germany club scene. The two dancers had a lot in common including their love for music and their dreams of becoming big stars. After some low-paying, go-nowhere jobs as background dancers and catalog models, Rob and Fab realize they need to get noticed. So they put aside working on songs to work on their image. They design their own unique look – the signature long braids, torn jeans, frilly jackets. And it works. They get noticed by Milli (Bella Dayne), the assistant to successful record producer Frank Farian (Matthias Schweighöfer).

Frank had struck it big in 1976 with the German disco band Boney M. Now he’s working on a new project. He has a song, “Girl You Know It’s True”, and two great singers, John Davis (Samuel S. Franklin) and Brad Howell (David Mayonga). But they weren’t “MTV material”. So Frank sits down with Rob and Fab and tells them, “I’m looking for stars.” The young, naive, and vulnerable duo sign a contract without fully understanding the terms. They believe they’ll get to sing the track. In reality, they’re hired to be good-looking, lip-syncing frontmen for a group Frank calls Milli Vanilla.

From there, Verhoeven details the duo’s meteoric rise from a popular local act in Germany to being the biggest pop stars on the planet. He includes Milli Vanilli’s signing with Arista records, their subsequent move to Los Angeles, the 1989 Club MTV disaster, the 1990 Grammy night performance, the ruthless legal battle over a potential world tour, and the public revelation that brought their entire world crashing down on top of them.

Through all of that, the movie never shortchanges the human side of Rob and Fab. They add to their own troubles after being swayed by the allure of fame. Drugs, alcohol, and women all play their parts. But we also see them manipulated by people they trust, most notably greedy executives who swoop in like vultures to cash in on their successes. Opportunity is dangled in front of them like a carrot on a string by devious and powerful opportunists. Yet through it all Rob and Fab kept believing they could turn the illusion into reality. They kept believing they would one day get their chance to sing.

In one of the film’s stranger choices, the story is partially narrated by Rob and Fab (and briefly by Frank) who appear intermittently, breaking the fourth wall to share their perspectives before ushering us into another key moment on their timeline. It’s a peculiar yet moderately effective approach that offers more human layers and a surprising amount of insight. But (as with most of the movie) it’s the superb performances from Njie and Ali that makes it all click.

In showing Milli Vanilli’s crushing fall from pop superstardom, Verhoeven doesn’t let anyone off the hook. Rob and Fab’s gullibility and love of the limelight certainly played a part. But the film is just as much an indictment of an industry so obsessed with record sales that the art and artists are often afterthoughts. And it also points out the culpability of the consumers, who devour acts who look the part and tickle our senses. As Rob states in one solemn moment of truth, “We gave you what you wanted.” That kind of candor, mixed with unexpected helpings of heart and humor, helps elevate this into something more than another run-of-the-mill biopic. “Girl You Know It’s True” opens August 9th in select theaters and on VOD.

VERDICT – 3.5 STARS

I for one have thoroughly enjoyed Legendary’s MonsterVerse movie franchise. “Godzilla x Kong: The New Empire” makes for the fifth film in the shared universe which dates all the way back to 2014 and Gareth Edwards’ terrific “Godzilla”. It’s considered the 38th film of the entire Godzilla franchise and the 13th King Kong feature. It sees the return of director Adam Wingard who helmed the previous installment, 2021’s “Godzilla vs. Kong”.

Initial reactions to this newest entry have been interesting. While early box office numbers have been impressive, the critics responses have been mixed. One reason is because some have unfortunately and unfairly pitted it against last year’s exceptional and more serious-minded “Godzilla: Minus One”. If anything the long-running Godzilla franchise has proven that you can do a lot of different things with the titular characters. Wingard understands that and sticks with his wild ‘Rock ‘Em Sock ‘Em Kaiju’ formula. I’m glad he did.

After defeating Mechagodzilla in the last movie, Kong has descended back down to Hollow Earth – the vast world below our planet’s surface where he carries on his search for his ancestors. Meanwhile on the surface, Godzilla continues his fight against the Titans who frequently spring up and cause trouble. As the last film established, Godzilla and Kong don’t like each other. But as long as they stay out of each other’s territory there should be nothing to worry about…right?

Back at Monarch, the well-funded secret organization that specializes in the monitoring Titan activity, Dr. Ilene Andrews (Rebecca Hall) has been elevated to Head of Kong Research. She and her team keep an eye on Kong while others within the vast Monarch follow Godzilla around the globe trying to predict his next moves.

At home, Irene’s young adopted daughter Jia (Kaylee Hottle) remains the last surviving member of Skull Island’s Iwi tribe who has a special connection to Kong. She’s suddenly stricken with traumatic visions triggered by an unidentified signal emanating from Hollow Earth. Irene seeks the help of Titan enthusiast and podcaster Bernie Hayes (a returning Brian Tyree Henry) and Titan veterinarian Trapper (Dan Stevens) who accompany her to Hollow Earth where Kong has discovered an uncharted region full of secrets. Meanwhile the mysterious signal stirs up Godzilla who begins preparing for a potential new and terrifying threat.

As you can probably guess, it’s all working toward a Titan-sized clash which Wingard and his digital effects team have a blast setting up and executing. The CGI-heavy visuals are pretty spectacular and often help to energize the movie. This proves to be important, especially as the heavy doses of mythology begin to wear a little thin. Admittedly, it’s impossible to deny the silliness of it all. At the same time, that very same silliness is a big part of what makes the movie fun. And Wingard’s snappy pacing makes sure you’re not dwelling on too much for too long.

Of course the bread and butter of “The New Empire” is the Titan throwdowns and we get some really good ones. Fans will relish the massive, destruction-driven battles, the film’s playful self-awareness, and the classic monster movie feel. Wingard and his trio of writers (Terry Rossio, Simon Barrett, and Jeremy Slater) make no bones about the movie they’re making. It’s pure popcorn entertainment and throwback escapism. If you didn’t like the previous MonsterVerse entry I’m not sure you’ll go for this one. Me? I’m already excited for the next installment. “Godzilla x Kong: The New Empire” is in theaters now.

VERDICT – 4 STARS